Cargo pants can fit drumsticks in the pockets if you don’t mind them sticking out. They can also hold this drum set and still have enough room for a pair of headphones, some pens, and a small notebook. At least, guy’s cargo pants can fit all that. Now your pocket is decked out with enough music gear to compose and drum few drum loops and even scribble some notes. We can’t speak for [Tomash Ghz] carrying a notebook, but he wanted a drum set in his pocket badly enough to make a custom circuit board to bring to the 2017 Fasma Festival in Athens. He wrote code for a Teensy 3.2 which fits on the back of his PCB next to a 9V battery. Don’t be afraid, the smallest components are 0805 so even clumsy fingers will be able to build their own. The Gerber files and BOM are all available, so nothing is stopping you.
On the board, we find an array of op-amps to support headphone and line-level outputs, four big ole’ buttons to activate each type of drum: kick, tom, snare, and hat. Then we have four potentiometers to change the sound of each like pitch, decay/length, modulation, and distortion. Once the perfect pattern is recorded, it can be saved in non-volatile memory in case you run out of juice although it can run up to seven-and-a-half hours on one battery. If you find yourself invested in the hardware, there is also a video walk-through about using the drum machine so grab your notebook and beat it.
We have seen simpler drums in simpler chips, and even drums on an entirely different type of chip.
Continue reading “A Drum Set In Your Pocket”
If you’ve ever wondered why an op amp has the little plus and minus symbols on it, its because at the heart of it, the device is a differential amplifier. The problem is that — ideally, at least — it has infinite gain so it works like a comparator and that’s not what you usually want. So we put resistors around the thing to constrain it and get useful amplification out of it. [Stephen Mendes] does the analysis for you about how the standard configuration for a differential amplifier works. He assumes you know the stock formulae for the inverting and non-inverting amplifier configurations and uses superposition.
[Stephen] mentions that’s the easiest way to do it and then goes on to do it sort of how we would do it as a check. We think that’s the easier method, but maybe its a matter of preference. Either way, you get the right answer.
Continue reading “What’s the Difference? Ask an Op Amp”
Op amps. Often the first thing that many learn about when beginning the journey into analog electronics, they’re used in countless ways in an overwhelmingly large array of circuits. When we think about op amps, images of DIPs and SOICs spring to mind, with an incredibly tiny price tag to boot. We take their abundance and convenience for granted nowadays, but they weren’t always so easy to come by.
[Mr Carlson] serves up another vintage offering, this time in the form of a tube op amp. The K2-W model he acquired enjoyed popularity when it was released as one of the first modular general purpose amplifiers, due to its ‘compact form’ and ‘low price’. It also came with large application manuals which helped it to gain users.
In order to power up the op amp and check its functionality, +300V and -300V supplies are needed. [Mr Carlson] is able to cobble something together, since it’s very apparent that he has an enviable stash of gear lying around. A 600V rail to rail supply is not something to be taken lightly, though it does give this particular model the ability to output 100V pk-pk without any distortion.
The op amp is set up as an inverting amplifier, and once powered on proves to work flawlessly. As always, the video is an entertaining watch, stuffed full of retro electronics trivia. We’re big fans of [Mr Carlson]’s work, and have previously written about his adventures with a colossal walk-in AM radio transmitter, as well as his restoration of a 1930s oscilloscope and subsequent transformer de-potting.
Continue reading “Op Amps Before Transistors: A 600V Vacuum Tube Monster”
A few summers of my misspent youth found me working at an outdoor concert venue on the local crew. The local crew helps the show’s technicians — don’t call them roadies; they hate that — put up the show. You unpack the trucks, put up the lights, fly the sound system, help run the show, and put it all back in the trucks at the end. It was grueling work, but a lot of fun, and I got to meet people with names like “Mister Dog Vomit.”
One of the things I most remember about the load-in process was running the snakes. The snakes are fat bundles of cables, one for audio and one for lighting, that run from the stage to the consoles out in the house. The bigger the snakes, the bigger the show. It always impressed me that the audio snake, something like 50 yards long, was able to carry all those low-level signals without picking up interference from the AC thrumming through the lighting snake running right alongside it, while my stereo at home would pick up hum from the three-foot long RCA cable between the turntable and the preamp.
I asked one of the audio techs about that during one show, and he held up the end of the snake where all the cables break out into separate connectors. The chunky silver plugs clinked together as he gave his two-word answer before going back to patching in the console: “Balanced audio.”
Continue reading “The Hot and Cold of Balanced Audio”
In 1976, Texas Instruments came out with the TL084, a four JFET op-amp IC each with similar circuitry to Fairchild’s very popular single op-amp 741. But even though the 741 has been covered in detailed, when [Ken Shirriff] focused his microscope on a TL084, he found some very interesting things.
To avoid using acid to get at the die, he instead found a ceramic packaged TL084 and pried off the cover. The first things he saw were four stabilizing capacitors, by far the largest structures on the die and visible to the naked eye.
When he peered into his microscope he next saw butterfly shapes which turned out to be pairs of input JFETs. The wide strips are the gates and the narrower strip surrounded by each gate is the source. The drain is the narrow strip surrounding each gate. Why arrange four JFETs like this? It’s possible to have temperature gradients in the IC, one side being hotter than the other. These gradients can affect the JFET’s characteristics, unbalancing the inputs. Look closely at the way the JFETs are connected and you’ll see that the top-left one is connected to the bottom-right one, and similarly for the other two. This diagonal cross-connecting cancels out any negative effects.
[Ken’s] analysis in his article doesn’t stop there though. Not only does he talk more about these JFETs but he goes over the rest of the die too. It’s well worth the read, as is his write-up about the 741 which we’ve also covered.
For hams who build their own radios, mastering the black art of radio frequency electronics is a necessary first step to getting on the air. But if voice transmissions are a goal, some level of mastery of the audio frequency side of the equation is needed as well. If your signal is clipped and distorted, the ham on the other side will have trouble hearing you, and if your receive audio is poor, good luck digging a weak signal out of the weeds.
Hams often give short shrift to the audio in their homebrew transceivers, and [Vasily Ivanenko] wants to change that with this comprehensive guide to audio amplifiers for the ham. He knows whereof he speaks; one of his other hobbies is jazz guitar and amplifiers, and it really shows in the variety of amps he discusses and the theory behind them. He describes a number of amps that perform well and are easy to build. Most of them are based on discrete transistors — many, many transistors — but he does provide some op amp designs and even a design for the venerable LM386, which he generally decries as the easy way out unless it’s optimized. He also goes into a great deal of detail on building AF oscillators and good filters with low harmonics for testing amps. We especially like the tip about using the FFT function of an oscilloscope and a signal generator to estimate total harmonic distortion.
The whole article is really worth a read, and applying some of these tips will help everyone do a better job designing audio amps, not just the hams. And if building amps from discrete transistors has you baffled, start with the basics: [Jenny]’s excellent Biasing That Transistor series.
[via Dangerous Prototypes]
It never fails — we post a somewhat simple project using a microcontroller and someone points out that it could have been accomplished better with a 555 timer or discrete transistors or even a couple of vacuum tubes. We welcome the critiques, of course; after all, thoughtful feedback is the point of the comment section. Sometimes the anti-Arduino crowd has a point, but as [Great Scott!] demonstrates with this microcontroller-less boost converter, other times it just makes sense to code your way out of a problem.
Built mainly as a comeback to naysayers on his original boost-converter circuit, which relied on an ATtiny85, [Great Scott!] had to go to considerable lengths to recreate what he did with ease using a microcontroller. He started with a quick demo using a MOSFET driver and a PWM signal from a function generator, which does the job of boosting the voltage, but lacks the feedback needed to control for varying loads.
Ironically relying on a block diagram for a commercial boost controller chip, which is probably the “right” tool for the job he put together the final circuit from a largish handful of components. Two op amps form the oscillator, another is used as a differential amp to monitor the output voltage, and the last one is a used as a comparator to create the PWM signal to control the MOSFET. It works, to be sure, but at the cost of a lot of effort, expense, and perf board real estate. What’s worse, there’s no simple path to adding functionality, like there would be for a microcontroller-based design.
Of course there are circuits where microcontrollers make no sense, but [Great Scott!] makes a good case for boost converters not being one of them if you insist on DIYing. If you’re behind on the basics of DC-DC converters, fear not — we’ve covered that before.
Continue reading “The Pros and Cons of Microcontrollers for Boost Converters”